Browsing by Author "Narangoda, P."
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Item The Embodiment of Tārā in Prajñāpāramitā: A Way of Artistic Representation(Faculty of Graduate Studies, University of Kelaniya, Sri Lanka, 2016) Narangoda, P.The principal characteristic of Mahayana Buddhism is the invocation of female Buddhas. . Prajñāpāramitā is the predominant deity who is the essence and the physical embodiment of perfect wisdom. She is also considered the "Mother of all Buddhas and the sentient beings” due to her limitless powers to heal the living beings. On the other hand, Tārā, the consort or the Shakti of the Bodhisattva Avalokiteśvara also encompasses the same epithet in that she is believed to be the protector of all living beings, especially when they are in a difficult situation. In the South and East Asian Buddhist practice, both deities also have a well-established reputation as the perfect essence of compassion and are, hence, depicted through a variety of icons to which the devotees pay their respect. This particular understanding is sometimes confusing due to the fact that the ordinary people idealize Prajñāpāramitā and Tārā as synonyms for one female deity: either Prajñāpāramitā or Tārā. The notion has also been portrayed in the respective icons where both deities are represented through similar icons. The researcher of the present study therefore proposes to examine the relevant literature, canonical understanding and the descriptions given in silpa texts etc., that have made a significant impact in terms of their similarity in appearance through the medium of icons. The sutra literature pertaining to the two deities and other secondary sources along with the silpa texts have been discussed as the primary sources of this study. Research was also carried out using the icons selected from various locations: China, Japan, and Korea representing Prajñāpāramitā and Tārā, particularly in the context of Mahayana Buddhist practice. The icons selected from Sri Lanka will also be taken as samples to examine how this concept has evolved in the Southern Buddhist practice. The study revealed that the important characteristics of the two feminine aspects in East Asian Buddhism of her limitless powers have two derivations: whereas Prajñāpāramitā depicts her abilities as the embodiment of wisdom, which is the central aspect of the Buddhist doctrine, Tārā embodies similar powers due to her partner, Bodhisattva Avalokiteśvara who has the boundless skill to heal living beings. The particular incorporation has, therefore, provided an acceptable foundation for ordinary people to bestow them with similar epithets, and to represent them through similar icons.Item Identification of Mahayana Sculptures fromI Padidora, Mawanella(University of Kelaniya, 2007) Narangoda, P.Ten gilt-bronze sculptures, some of which were supposed to be representing Mahayana deities, discovered from Padidora. Mawanella in the district of Kegallc in the year 2006 were studied, The objective of the study is to re-examine and re-define the iconographical attributes of the findings. Those sculptures were previously identified by a team of archaeologists from the Department of Archaeology as representing Avalokithesvara Natha, the most popular deity in Mahayana Buddhism. The present study is based on canonical and literary references from Silpa Texts, SadhanaMala and Nispannayogavali and others, I was able to identify five statues as representing Samadhi Buddha, one Maitreya Bodhisattva, one Sudhana Kumara and two Tara of which the last four representing the most popular deities of the Mahayana pantheon of Sri LankaItem The musical culture of Ceylon Africans: A case study of Maanja tradition in the Sirambiadiya village, Sri Lanka(Faculty of Graduate Studies, University of Kelaniya Sri Lanka, 2022) Kumara, J. C. R.; Narangoda, P.The present research examines the musical culture of Ceylon Africans (Kaffir) in the Sirambiadiya region, in Puttalam district, in North-Western Province. They are a group of community descending from the post-colonial period of the country. Evidently, the Kaffirs of Sirambiyadiya village inherit a particular style of music called Maanja, demonstrating some unique characteristics that have also become part of Sri Lankan culture, especially by spreading the tradition of Baila Kaffirinha, which continue to be very popular in the country. However, the Kaffirs of Sirambiadiya call their music Maanja. These songs have only a few verses: five or six lines or less. These same lines recur in different tempo in their singing. The singing primarily starts in slow tempo and increases gradually indicating that the dance is incorporated into the ongoing music. They accompany some percussion instruments such as Dolak (Dolki or Dollakkiya), and Rabana as the principle beat keeper, yet they use with it some home utensils i.e., spoons, glass bottles, common furniture like polished coconut shells, along with some coins. The word ‘Maanja’ is derived from the Portuguese word ‘Marchas,’ kind of song sung in the Portuguese wedding ceremonies and festivities. Most of these Maanja songs are based on six-eight (6/8) beats. It is revealed that the Sri Lankan Maanja demonstrates some connotation to Portuguese Marchas in a very locally customized manner in which the Portuguese descendants of the country acculturated themselves while introducing the Portuguese cultural affinities vice versa. Thus, the themes of Maanja songs range from appreciating nature, childhood, livelihood of people, identified as child flying a kite, love, the sea, the birds, and devotional songs etc. Within such a background, the objective of the present research is to identify the evidence of musical ensemble of Kaffirs in Sirambiyadiya such as musical structures, playing techniques, singing styles, melodic patterns, performance settings, and the instruments to examine the independent characteristics of Maanja tradition within the particular socio-cultural background, by preserving the value of one of the diminishing cultures in Sri Lanka right now. It can be concluded that identifying the Maanja music tradition of Ceylon Africans in the Sirambiadiya region is significant for them to evolve as a minor music tradition, yet, unique to the country. The present study follows the qualitative research methodology including on site data collection with recorded music and interviews with the community, analysis, interpretation, and conclusion. Data is also collected from the field study, scholarly studies, library and archival surveys, and discussions.Item Item The Sacred Footprint (Buddhapāda) in Sri Lankan Buddhist Art(University of Kelaniya, 2015) Narangoda, P.The present study aims at examining the significance of the Sacred Footprint (Buddhapāda) in Sri Lankan Buddhist Art in relation to the context of contemporary Asian art. The notable character of Asian Buddhist art is the aniconic representations of the Buddha through a variety of symbols that include the Bodhi Tree, the Wheel of Dharma, the Sacred Footprint, the Sacred Throne, the Trident etc., This character is obviously highlighted when examining the Indian Buddhist art where such aniconic representations occur in many instances as possible. The scholars who studied the origin and the evolution of Sri Lankan art, thus view the Indianized aspects of Sri Lankan Buddhist art, and attempt to pursue any resemblance to the aniconic characteristics that the Indian artist utilized to represent the Buddha in those of Sri Lankan Buddhist art, too. However, a detailed examination of the Sacred Footprint (Buddhapāda) recovered from different sites in the country proves that Sri Lankan innovation is not parallel to those of India or elsewhere, and it is the symbol of Footprint (Buddhapāda) representing the Buddha, and appears to be an object of veneration or a decorative element where no evidence to prove the aniconic presence of the Buddha. Instead, the evidence so far found portray unique iconographic characteristics ie. the Wheel of Dharma (dharmacakra), the Trident (triśula), the lotus bud (Padma), the Parasol (catra) etc., each representing in an individual context where there is no resemblance to the aniconic symbols in Indian Buddhist art. Therefore, the present study provides a needy background to examine the unique iconographic characteristics of the Sacred Footprint (Buddhapāda) in Sri Lankan Buddhist art, and its independent appearance of Indian prototype.Item The way of Bhaishajyaguru: The way of healing the wounded(Gampaha Wickramarachchi Ayurveda Institute, University of Kelaniya, 2014) Narangoda, P.Item ශ්රී ලංකාවේ රූකඩ නාට්ය කලාව(Faculty of Humanities, University of Kelaniya, Sri Lanka, 2001) Narangoda, P.